An exciting new anthology of autofiction featuring a wide range of today's best writers, both established and up-and-coming.
Collected autofictions from mainstays of literary, art, and internet avant-garde writing. The contributors in this anthology produce a contemporary, subversive primer of works engaging the relationship between the writer and the text.
Aiden Arata Nathan Dragon David Fishkind Rindon Johnson Aristilde Kirby Tao Lin Chris Molnar Vi Khi Nao Elle Nash Gina Nutt Brad Phillips Sam Pink Darina Sikmashvili BR Yeager
Autofiction from some of the best around and from some new writers I've never read. The Troubles by Brad Phillips was my favorite but there was a lot of good writing in this anthology.
Vi Khi Nao - Field Notes on Suicide or the Inability to Commit Suicide or It's Hard to Follow a Pomeranian Around ⭐⭐⭐ Rindon Johnson - Excerpt from And If I Could, I Truly Would ⭐⭐⭐⭐⭐ Nathan Dragon - Dog Washed Blue ⭐⭐⭐⭐ Brad Phillips - The Troubles ⭐⭐⭐⭐⭐ Darina Sikmashvili - This is What I Have to Show for Life ⭐⭐⭐ Aiden Arata - Naming Things ⭐⭐⭐⭐ Sam Pink - 3:40 PM ⭐⭐⭐⭐⭐ Chris Molnar - Radio Cure ⭐⭐ Elle Nash - Livestream ⭐⭐⭐⭐ B.R. Yeager - The Roman Soldier ⭐⭐⭐⭐⭐ Aristilde Kirby - Benzaiten ⭐⭐ Gina Nutt - Ascendant ⭐⭐⭐ Tao Lin - Canadian Gay Porn Site ⭐⭐ David Fishkind - The House on the Hill in the Country ⭐⭐⭐⭐⭐
TBH, I started reading this a long time ago and forgot about it for a while. Overall, I found it to be a very mixed collection, with some stories really outshining others. Some of these admittedly did feel like run-of-the-mill MFA fiction, the kind that gets posted in literary journals as something bland and unassuming.
The line between autofiction and straight-fiction is a little bit too blurred for my personal taste, with me asking what the “auto” part of the story was in several of these. I think in general that the author has responsibility to at least make that line visible, even if it is faint, for the sake of posterity and understanding. Especially works that verge on the side of being authorial and “auto,” but then blatantly overstep into the fictive realm irk me.
That being said, there were several that I enjoyed. Tao Lin, Sam Pink showing up strong as expected. Darina Siashvili also impressed me as well.
Some of these stories are hilarious or poignant, others a little blase. A couple are indulgently fantastical. For getting a handle on contemporary autofiction, NDA is an important primer on the ins and out, reality and unreality, of this nebulous genre.